Science and research

Losonnante is the result of an ambitious scientific research project, carried out in partnership with leading teams. By combining scientific expertise with technological innovation, Losonnante has developed a unique immersive listening concept through bone conduction, offering a sound experience that is natural, inclusive, and deeply intuitive.

Bone conduction: the inner listener

The principle of listening through bone conduction (also known as osteophony) was first identified in the 16th century by the Italian physician Jerome Cardan. This is to be distinguished from air conduction, which refers to the process by which sound vibrations travel through the air to reach the ear canals, where they make the eardrums vibrate. These vibrations are then transmitted to the ossicles of the inner ear, generating a signal interpreted by the brain as sound.

Bone conduction avoids this step. Rather than having the sound travel through the air and the ear canal, systems that use this principle (earpieces, headphones, or the hands in the case of Losonnante immersive sound devices) transmit vibrations directly to the bones of the inner ear. When these vibrating bones send signals to the brain, the latter interprets them as sound.

The many studies carried out on bone conduction have led to significant advances in hearing aids for deaf people. Bone conduction is also used by some athletes, or to listen to music without cutting oneself off from the outside world.

The principle of listening through bone conduction (also known as osteophony) was first identified in the 16th century by the Italian physician Jerome Cardan. This is to be distinguished from air conduction, which refers to the process by which sound vibrations travel through the air to reach the ear canals, where they make the eardrums vibrate. These vibrations are then transmitted to the ossicles of the inner ear, generating a signal interpreted by the brain as sound.

Bone conduction avoids this step. Rather than having the sound travel through the air and the ear canal, systems that use this principle (earpieces, headphones, or the hands in the case of Losonnante immersive sound devices) transmit vibrations directly to the bones of the inner ear. When these vibrating bones send signals to the brain, the latter interprets them as sound.

The many studies carried out on bone conduction have led to significant advances in hearing aids for deaf people. Bone conduction is also used by some athletes, or to listen to music without cutting oneself off from the outside world.

Find out more about our concept

A holistic and inclusive perspective on sound

The Losonnante sound devices were developed in close partnership with the CRESSON team (center for research on sound space and the urban environment) attached to the CNRS and the PACTE laboratory, a Social Sciences Laboratory, also attached to the CNRS but also to Grenoble Alpes University and Sciences-Po Grenoble.

From the outset, in addition to bone conduction technology, we set out three main areas of work and reflection: the listening position, the listening environment and sound content.

Our concept

The listening position

This determines the listeners’ comfort, the time they can devote to listening, the attention they pay and the way they perceive sounds (quality, listening finesse, difficulty in positioning themselves). Today, standing or sitting and listening individually, future solutions could involve reclining listening positions, individually, in small groups or larger collectives.

The listening situation

Specifically, we’re working on the scenography that accompanies Losonnante and the choice of sound environment. Listening in a noisy or very quiet environment substantially changes the perception and experience of listening with this device.
As part of a tour, visitors must also be guided towards Losonnante and told, more or less explicitly, how to start listening. Depending on the configuration and profile, adopting the proper listening position can be intimidating or, on the contrary, comforting. We may want to be alone, or we may need someone close by to guide us through the experience.
The scenography work also involves integrating external elements into the device: lighting effects, visuals, insertion into a choreography that plays with the listener’s immobility, and so on.

The advantages of bone conduction listening in public places

On site, Losonnante immersive sound devices offer a host of benefits.

Waterproof, self-operating, silent

Perfect for noisy or outdoor spaces, Losonnante makes it possible to enhance heritage and touristic sites without generating noise conflicts.

Maintenance, manageability, hygiene

A simple surface on which to place elbows, Losonnante eliminates management, maintenance and hygiene constraints.

No accessories or equipment required

Our immersive sound devices stand out from audio guides, QR codes or mobile applications, creating real sharing opportunities without the need for screens.

Losonnante: a unique tour experience

The Losonnante works equally well outdoors and indoors, offering a new way of perceiving the world and experiencing sound.

Our systems can be adapted to most tourist, exhibition or heritage enhancement environments.

Our products

Bibliographiy

Books

 

BASCHET François (2007), Mémoire Sonore, L’Harmattan – Paris

GONON Anne, Tout ouïe. La création musicale et sonore dans l’espace public, L’entretemps, 2016.

FLORENS Ernst, FRIEDRICH Chladni (2018), Traité d’acoustique, Hachette Livre BNF – Paris GUIU Claire (dir.), « Géographies et musiques. Quelles perspectives ? » , revue Géographie et cultures n°59, automne 2016, L’Harmattan, Paris.

MURRAY SCHAFER Raymond, Le paysage sonore. Le monde comme musique, Wildproject, Marseille, 2010.

RAIBAUD Yves (dir.), Comment la musique vient aux territoires, Maison des sciences de l’homme d’Aquitaine, 2009.

SINCLAIR Peter, JOY Jérôme, Locus Sonus. 10 ans d’expérimentation en art sonore, Le mot et le reste, 2015.

Dissertations

 

BOSS Sandra (2018), Tuning the Ear – Exploring Conditions and Conceptions of Hearing, Faculty of Arts, Aarhus University
DAMIAN Jeremy (2014), Intériorités/Sensations/Consciences : sociologie des expérimentations somatiques du Contact Improvisation et du Body-Mind Centering, Université de Grenoble.

Articles and magazines

 

BERGER Nathalie, CALLEC Arnaud, dossier « Prêtez l’oreille… La nature c’est aussi du son », revue Espaces naturels, n°47 juillet 2014.

GWIAZDZINSKI Luc, PIGNOT Lisa, dossier « Les géo-artistes : nouvelles dynamiques pour la fabrique urbaine » , L’observatoire, la revue des politiques culturelles, n°48 Été 2016.

ROMIEU Patrick, « Désenchanter le sonore : quelques considérations sur les méandres inférieurs de l’écoute » , in GUIU Claire, FABUREL Guillaume, MERVANT-ROUX Marie-Madeleine, TORGUE Henry et WOLOSZYN Philippe (dirs.) Soundscapes. Espaces, expériences et politiques du sonore, Presses Universitaires de Rennes, 2015.

Online articles

« L’accéléromètre pour écouter les vibrations du monde » : http://www.echosciences-grenoble.fr/articles/l-accelerometre-pour-ecouter-les-vibrations-du-monde

« Good vibrations (1/3) : Bill Fontana, l’artiste qui sculpte le bruit du monde » : http://www.echosciences-grenoble.fr/articles/good-vibrations-1-3-bill-fontana-l-artiste-qui-sculpte-le-bruit-du-monde

« Dossier arts & sons – Les esthétiques de l’écoute », sur le site Arts Hebdo Médias : http://artshebdomedias.com/article/300316-dossier-art-son-les-esthetiques-de-ecoute/